The Well-Tempered Ear

Classical music: Here are the classical music nominees for the 2020 Grammy Awards. They make a useful holiday gift guide and highlight the trend toward more diversity

November 29, 2019
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By Jacob Stockinger

Today is Black Friday followed by Small Business Saturday and Cyber Monday — all with special deals and sales.

With that in mind, here is a list of the recently announced nominees in classical music for the 2020 Grammy Awards.

Although it is a self-serving list for a competition sponsored by The Industry, it can also be good way to find holiday gifts to give to others or to receive for yourself.

The list can be useful for spotting trends and finding new releases you may not have heard of.

For example, this year seems especially good for new music or recent works and contemporary composers. You won’t find any Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Dvorak, Tchaikovsky or Mahler although you will find Berlioz, Schumann, Wagner, Bruckner, Berg, Rachmaninoff and Copland.

Another favorite seems to be the rediscovery of older composers such as Mieczyslaw Weinberg (1919-1996, below) whose centennial has become an occasion for bringing his neglected works to the forefront.

You can also see that like the Oscars, the Grammys seem to be paying more attention to women composers and conductors, artists of color and crossovers or mixed and hybrid genres.

For complete lists of all 84 categories, go to this site and click on the categories that interest you: https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list

The 62nd annual Grammy Awards will be presented on Sunday, Jan. 26, at the Staples Center in Los Angeles and will be broadcast live on CBS television.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)
  • AEQUA – ANNA THORVALDSDÓTTIR
    Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
  • BRUCKNER: SYMPHONY NO. 9
    Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
  • RILEY: SUN RINGS
    Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)
  • BLANTON ALSPAUGH
  • Artifacts – The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
    • Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
    • Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
    • Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
    • Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
    • Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
    • Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
    • Visions Take Flight (Mei-Ann Chen & ROCO)
  • JAMES GINSBURG (below)
  • Project W – Works By Diverse Women Composers (Mei-Ann Chen and Chicago Sinfonietta)
    • Silenced Voices (Black Oak Ensemble)
    • 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck and Chicago Philharmonic)
    • Twentieth Century Oboe Sonatas (Alex Klein and Phillip Bush)
    • Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham and Chicago Youth Symphony Orchestra)
  • MARINA A. LEDIN, VICTOR LEDIN
  • Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
    • The Orchestral Organ (Jan Kraybill)
    • The Poetry Of Places (Nadia Shpachenko)
    • Rachmaninoff – Hermitage Piano Trio (Hermitage Piano Trio)
  • MORTEN LINDBERG
  • Himmelborgen (Elisabeth Holte, Kare Nordstoga & Uranienborg Vokalensemble)
    • Kleiberg: Do You Believe In Heather? (Various Artists)
    • Ljos (Fauna Vokalkvintett)
    • LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
    • Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
    • Veneliti (Hakon Daniel Nystedt & Oslo Kammerkor)
  • DIRK SOBOTKA
  • Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)

 75. Best Orchestral Performance Award to the Conductor and to the Orchestra.

  • BRUCKNER: SYMPHONY NO. 9
    Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • COPLAND: BILLY THE KID; GROHG
    Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • NORMAN: SUSTAIN
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)
  • TRANSATLANTIC
    Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • WEINBERG: SYMPHONIES NOS. 2 and 21
    Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

  1. Best Opera Recording
    Award to the Conductor, Album Producer(s) and Principal Soloists.
  • BENJAMIN: LESSONS IN LOVE & VIOLENCE
    George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
  • BERG: WOZZECK
    Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
  • CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES
    Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
  • PICKER: FANTASTIC MR. FOX
    Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
  • WAGNER: LOHENGRIN
    Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)

  1. Best Choral Performance
    Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
  • BOYLE: VOYAGES
    Donald Nally, conductor (The Crossing)
  • DURUFLÉ: COMPLETE CHORAL WORKS
    Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)
  • THE HOPE OF LOVING
    Craig Hella Johnson, conductor (Conspirare)
  • SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
    Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
  • SMITH, K.: THE ARC IN THE SKY
    Donald Nally, conductor (The Crossing)

  1. Best Chamber Music/Small Ensemble Performance
    For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • CERRONE: THE PIECES THAT FALL TO EARTH
    Christopher Rountree and Wild Up
  • FREEDOM & FAITH
    PUBLIQuartet
  • PERPETULUM
    Third Coast Percussion
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Hermitage Piano Trio
  • SHAW: ORANGE
    Attacca Quartet

79. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

  • THE BERLIN RECITAL
    Yuja Wang
  • HIGDON: HARP CONCERTO
    Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE
    Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
  • THE ORCHESTRAL ORGAN
    Jan Kraybill
  • TORKE: SKY, CONCERTO FOR VIOLIN
    Tessa Lark; David Alan Miller, conductor (Albany Symphony)

 80. Best Classical Solo Vocal Album  Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • THE EDGE OF SILENCE – WORKS FOR VOICE BY GYÖRGY KURTÁG
    Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
  • HIMMELSMUSIK
    Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
  • SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35
    Matthias Goerne; Leif Ove Andsnes, accompanist
  • SONGPLAY
    Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)
  • A TE, O CARA
    Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)

  

  1. Best Classical Compendium
    Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
  • AMERICAN ORIGINALS 1918
    John Morris Russell, conductor; Elaine Martone, producer
  • LESHNOFF: SYMPHONY NO. 4 ‘HEICHALOS’; GUITAR CONCERTO; STARBURST
    Giancarlo Guerrero, conductor; Tim Handley, producer
  • MELTZER: SONGS AND STRUCTURES
    Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
  • THE POETRY OF PLACES
    Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
  • SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER
    Hannu Lintu, conductor; Laura Heikinheimo, producer

  

  1. Best Contemporary Classical Composition
    A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
    Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
  • HIGDON: HARP CONCERTO
    Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO IN D MAJOR
    Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
  • NORMAN: SUSTAIN
    Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
  • SHAW: ORANGE
    Caroline Shaw, composer (Attacca Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

 


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Classical music: This Friday night, the Wisconsin Union Theater presents a world-class Spanish string quartet and will also announce the special concerts to mark its centennial anniversary next season

February 28, 2019
2 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Think of it as a two-fer, and then some, at the Wisconsin Union Theater this Friday night, March 1.

The main event is the Madison debut of a world-class string quartet from Spain.

The other event is the announcement of the schedule for the Concert Series’ 2019-2020 season — the series’ 100th season.

The first event is the concert by Cuarteto Casals (below) at 7:30 p.m. in Shannon Hall.

Prices for the event are: the general public, $25-40; for Union members, $25-36; for UW faculty and staff members, $25-38; for young people, $20; and for UW-Madison students, $10. Tickets can be bought online, by phone at 608-265-ARTS (2787) or in person. See locations and hours here.

The program includes the String Quartet in C Major “The Bird,” Op. 33, No. 3, by Franz Joseph Haydn; the String Quartet No. 3 by Bela Bartok; selections from the Fantasies for String Quartet by Henry Purcell; and the String Quartet in G Minor, Op. 10, by Claude Debussy. (You can hear the Cuarteto Casals play a movement of a different Haydn string quartet in the YouTube video at the bottom.)

Cuarteto Casals was founded in 1997 at the Escuela Reina Sofia in Madrid. They are named after great 20th-century Catalan cellist Pau (Pablo) Casals (below). Members of the quartet are Vera Martinez Mehner and Abel Tomas, violins; Jonathan Brown, viola; and Arnau Tomas, cello.

The group achieved international recognition after winning First Prizes at the London and Brahms-Hamburg competitions. After receiving the prestigious Burletti-Buitoni Trust award designed to assist young musicians, the quartet acquired a matching set of Baroque and Classical period bows, used to distinguish between musical styles.

The year 2017 marked the 20th anniversary of the quartet, and also the start of a commemorative project: a six-concert series of the complete Beethoven quartets, accompanied by six commissioned works from great composers since the 17th century.

The quartet was selected as ambassadors of Catalan culture by the Generalitat of Catalunya, and accompanies the King of Spain on diplomatic visits.

It is the quartet-in-residence at the Spanish Royal Palace through 2020 and the quartet-in-residence at the Escola Superior de Musica de Catalunya in Barcelona.

Carol Carlson (below) will offer a free pre-concert lecture at 6 p.m. Carol holds both Doctor of Musical Arts and Master of Music degrees in violin performance from the UW-Madison.

Carlson dedicates herself to music education as co-founder, co-director and teacher of Music con Brio, a non-profit organization that provides affordable violin lessons and equipment for students at Emerson Elementary School in Madison. Music con Brio (below, in a photo by Scott Maurer) will perform on the stage of Shannon Hall from 7 to 7:20 p.m.

This program was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. The media sponsor is WORT 89.9 FM.


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Classical music: Meet Isabelle Demers, who performs an unusual organ recital tonight at 7:30 in Overture Hall

April 17, 2018
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By Jacob Stockinger

The Ear has received the following announcement to post:

The Madison Symphony Orchestra (MSO) welcomes the return of organist Isabelle Demers (below) for a recital tonight, Tuesday, Apr. 17 at 7:30 p.m. in Overture Hall of the Overture Center, 201 State St.

Professor of organ and head of the organ program at Baylor University, Isabelle Demers enjoys a very active recital career with performances worldwide from London to Los Angeles and Melbourne to Madison.

Her program entitled The Three B’s includes music by Edward Bairstow, Joseph Bonnet, and Hector Berlioz with Demers’ own transcription of Berlioz’s blistering “Symphonie Fantastique.” She is renowned for her dazzling performances, dynamic style, and universal audience appeal.

Admission for each Overture Concert Organ performance is $20. Tickets can be purchased at madisonsymphony.org/demers, where you can also see Demers’ complete program, or by calling (608) 258-4141, or by going to the Overture Box Office.

Student Rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $10 tickets.

This performance is sponsored by the Skofronick Family Charitable Trust. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ (below), which is the backdrop of all MSO concerts.

For more Overture Concert Organ information, visit madisonsymphony.org/organ.

Here is a Q&A that the MSO did with Demers, who has more than two dozen videos on YouTube, including her own transcriptions of sections from “Scheherazade” by Nikolai Rimsky-Korsakov that is at the bottom:

MSO: Tell us about growing up and how that led you to make the organ a career.

ID: I grew up in Quebec, Canada, and started piano when I was 6. Most of my family works in sciences, but my mother wanted music to be an important part of my education. I entered pre-college at the Montreal Conservatory when I was 11 and really loved it, so it was not a very hard decision to choose music as a career later on.

My mother also suggested that I learn organ when I turned 16; she thought it would be a good instrument for me, while I saw it as a way to pay for my piano lessons. I guess the moral of the story is that one should always listen to their mother.

MSO: What differentiates you from other organists?

ID: I’m much shorter and I have a lovely French-Canadian accent. Seriously, I think I have a different feel for registration because I didn’t grow up with organ music. I listened to lots of orchestral and operatic works as a teenager, and I think that it influences the way I register most works, especially transcriptions.

I also have a more extensive background as a pianist than most other organists, so virtuosic works might come slightly more easily to me. (By the time I stopped playing piano, I had learned almost all the Chopin etudes, for example.)

MSO: What excites you most about playing the organ?

ID: Definitely the wide range of sounds and dynamics at our disposal! Being able to create my own sound world on every instrument I play is a very exciting part of my job. I don’t always play the same works, but even if I did, they often sound completely different when you try them on new instruments. I also like the physical aspect of playing organ; it’s good to get all your limbs moving together, especially when they are all falling on the right keys at the right time!

MSO: What would you say to someone at their first organ concert?

ID: Let yourself be moved by the instrument. Instead of trying to understand every note, listen for the bigger gestures, for the colors, for the larger picture. The organ has the potential to be very exciting and moving, but first one must forget that it is essentially a big machine.

If you don’t like the colors or the music, then hopefully it is possible to see the organist. I always find it fascinating to watch people play, and see how they can manage all the knobs and buttons on the console.

MSO: Other than playing the organ, what are some interests of yours?

ID: I love traveling, reading, spending time outside when it’s cold (which unfortunately doesn’t happen much in Texas) and cooking. I like to make ice cream, which is obviously very popular with the students as well. On my last visit to Madison I was able to try sour cream ice cream, which was delicious! I’ve tried to reproduce the recipe at home, but I think I’ll need some more practice.


Classical music education: Here are 10 reasons why students should be allowed to major in music

August 29, 2017
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By Jacob Stockinger

Many, maybe most, of the college and university students are back by now.

And a week from tomorrow, classes at the University of Wisconsin-Madison will begin.

K-12 classes in public schools and private schools will also start, if they haven’t already, as will another year of music lessons.

And so will the new concert season.

Coincidentally, The Ear came across a post from Forbes magazine that deals with whether students should be allowed to major in music (below, in a photo by Shutterstock).

Many parents, and many politicians too, feel that more practical, higher paying fields are better investments of energy, time and especially money.

The same logic applies these days to the arts and humanities versus the so-called STEM fields – science, technology, engineering and mathematics.

Anyway, the advice columnist Liz Ryan answered the question with 10 reasons why it is a good idea to let a student major in music.

The Ear –- who is an avid defender of the liberal arts and of college years not as a trade school but as a chance to explore and experiment — thought that whether you are a student, parent or teacher, you might be interested in reading the reasons why a music major makes sense.

Here is a link:

https://www.forbes.com/sites/lizryan/2017/06/04/ten-reasons-to-let-your-kid-major-in-music/


Classical music: Which piece of music did you first connect with emotionally and how old were you?

February 11, 2017
14 Comments

By Jacob Stockinger

Another weekend, another reader survey.

For The Ear, music was and remains much more an emotional experience than an intellectual one.

So he was intrigued when he came across a survey question on the Internet earlier this week.

The question was simple: When did you first connect emotionally with a piece of classical music and how old were you? And what was the piece and composer of the piece that you first connected with emotionally?

It sounds so easy. But The Ear found himself going back through time and really straining to choose the right answer.

Early on, The Ear loved the sound and drama of Smetana’s tone poem “The Moldau.” And he loved some works by Johann Sebastian Bach that he heard in church. During piano lessons, there was some pieces by Chopin.

But then at about age 11, the Great Emotional Awakening to Music came in a way that reminded him of the famous madeleine memory episode in Marcel Proust’s novel “Remembrance of Things Past,” translated more accurately, if less poetically, these days as “In Search of Lost Time.”

Since he himself was a young and aspiring pianist, The Ear has realized, he no doubt first connected with the powerful recording by Arthur Rubinstein (below top) of the Piano Concerto No. 2 in C Minor, Op. 18, by Sergei Rachmaninoff (below bottom). That recording also featured Fritz Reiner conducting the Chicago Symphony Orchestra, and you can hear it in the YouTube video at the bottom.

Arthur Rubinstein

rachmaninoffyoung

The answer really isn’t a surprise — young people love the sweep of Romantic music. After all, on a lesser emotional level, Rachmaninoff had also moved The Ear with the famous Prelude in C-Sharp Minor — the “Bells of Moscow” — which spurred The Ear into starting piano lessons when he heard it played live and right in front of him by a babysitter.

How intently he listened to the concerto, with a friend in the basement of his friend’s house, over and over again. How it moved him and never failed to move him – and still moves him today.

And then, maybe at 12 or 13, he rushed out and bought the Schirmer score tot he concerto when he was old enough and skilled enough to try to play some of it – the famous opening chords and excerpts from the beautiful and lyrical slow second movement. That experience of playing even excerpts also proved very emotional.

Now, there is also a practical purpose to this question. The answer just might give adults an idea about how to attract young children and new audiences to classical music.

Anyway, that’s what The Ear wants to know this weekend:

How old were you when you first connected EMOTIONALLY to classical music?

And who was the composer, the piece and the performer that you connected with emotionally?

The Ear hopes you have just as much poignant fun recollecting the answer as he did.

Let us know the answer in the COMMENT section with a YouTube link if possible.

The Ear wants to ear.


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